The Magnificent Seven (2016) – Film Review

After taking-on a number of exciting action flicks in recent years such as: ‘Training Day’, ‘Olympus Has Fallen’ and ‘The Equalizer’, director Antonie Fuqua brings this remake of the original 1960 ensemble western to the silver screen. Combining a superb cast with some explosive moments of action and plenty of highly-detailed costumes and sets, ‘The Magnificent Seven’ manages to remain an entertaining remake of the beloved classic despite its few faults.

In 1897, seven gunmen from a variety of different backgrounds are brought together by a vengeful young widow in order to protect her hometown of: ‘Rose Creek’ from the private army of a destructive industrialist.

Other than a few changes to the names of its characters, the remake of: ‘The Magnificent Seven’ follows a very similar storyline to the original film, which was essentially just a retelling of the iconic Japenese film: ‘Seven Samurai’ but now set in the Wild West. As the remake avoids making-any definite changes to the narrative in favour of simply just updating the story for a more modern-audience, meaning the film has much faster-pacing and more of a focus-on creating thrilling action set-pieces than the original, which is both a good and a bad thing. As whilst the film does still pay homage to many classic westerns, the film occasionally also adopts many of the issues that plague plenty of modern blockbusters today, the most notable of which being the film’s overabundance of cheesy/predictable dialogue.

Denzel Washington, Chris Pratt, Ethan Hawk, Vincent D’Onofrio, Byung-hun Lee, Manuel Garcia-Rulfo and Martin Sensmeier all give splendid performances as the line-up of: ‘The Seven’, each portraying a different personality and skillset between them. But of course, similar to many other films lead by a group of characters rather than just a single protagonist. ‘The Magnificent Seven’ suffers from a lack of equal development for its cast as a result of Denzel Washington and Chris Pratt as ‘Chisolm’ and ‘Josh Faraday’ hogging most of the screen-time, with the film’s antagonist: ‘Bartholomew Bogue’ portrayed by Peter Sarsgaard, also having a deficient intimidating presence when on-screen due to this.

Whilst the film’s cinematography never falls into the category of being exceedingly bland, the cinematography by Mauro Fiore is only above-average overall. As although the film does feature an array of attractive close-ups and wide-shots alongside its many suitably barren locations, the film also has quite a heavy overreliance on shot-reverse-shot during many of the conversations between characters. However, a smaller detail that I felt added to the film’s visual appeal (and realism) is definitely its use of nature surrounding/within its various locations, as the film’s main setting of: ‘Rose Creek’ is littered with trees and tall grass rather than just continuous desert similar to many other westerns, with some areas of Baton Rouge, Louisiana (where filming took place) even having to be relandscaped to further resemble the Old West.

Being the last film Horner worked-on as a composer before he sadly passed away in 2015, the original score by him and Simon Franglen does suitably feel like the score of a traditional western for the majority of the film’s runtime. Although there are still a few tracks that feel fairly generic, the soundtrack redeems itself through the great tracks: ‘Rose Creek Oppression’ and ‘Seven Riders’, in addition to also bringing back the original film’s theme composed by the late Elmer Bernstein for its end credits.

As the remake of: ‘The Magnificent Seven’ focuses more-on action over anything else (with the entire final act of the film essentially being one long action sequence) a lot of pressure lies-on the film to live-up to this intent, which thankfully, it does. As all of the stirring moments throughout the film make fantastic use of their impressive stunt work and subtle CGI effects. That being said, nearly-all of the action scenes are also distinctly missing an element of both grittiness and violence, which can be fairly distracting. As despite many of: ‘Bartholomew Bogue’s guns-for-hire being shot, stabbed and blown-up, blood is barely ever-seen, and whilst I understand classic westerns also didn’t really revel in violence, I’ve always seen that as more of a restriction of the time-period rather than just a skimp to lower the film’s age rating.

In conclusion, while ‘The Magnificent Seven’ may not fully deliver-on the ‘Magnificent’ part of its title, the film is still is an enjoyable throwback to the westerns of old with plenty of exhilarating action set-pieces to boot. As even when taking-into account all of the remake’s issues and general lack of memorability, I’d still say the film is on the better side of reimagined classics in recent memory and is worth a watch if you’re a true western enthusiast or perhaps just desire to see a remake that doesn’t attempt to simply recreate the original shot-for-shot. A 7/10 overall.

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Maniac (2012) – Film Review

Shot nearly entirely through a first-person perspective and lead by a timid yet creepy performance from Elijah Wood. ‘Maniac’ is in my opinion, a pretty creative and unique slasher that has been enormously overlooked when it comes to modern horror. While the film does still have its issues, I feel most horror fans will get something out of this discomforting dive into the mind of a serial killer should they give it a watch.

After working his day job at a mannequin restoration store, the mentally ill and isolated: ‘Frank’ takes to the dark streets of Los Angeles as a serial killer with a fetish for female scalps. But when a young artist asks him for help with her new exhibition, ‘Frank’s obsessions begin to consume him.

Although it takes a different approach to its story, ‘Maniac’ is actually a remake of the classic 1980 slasher of the same name. However, this is one of the rare occasions where I believe that the remake is possibly an improvement over the original film. As while the 80s flick does feature plenty of over-the-top gore, the film never manages to elevate itself from being just a fairly straight-forward slasher, and although it’s maybe not always successful. The remake does attempt to develop ‘Frank’ more as a character alongside exploring themes of mental health and loss of identity effectively throughout its runtime.

Elijah Wood, best known for his role as ‘Frodo’ in ‘The Lord of the Rings’ series, portrays the serial killer protagonist: ‘Frank’ as awkward and almost quite dry at points, making ‘Frank’ feel incredibly deranged when he interacts with other characters. Most notably, the artist and photographer: ‘Anna’ portrayed by Nora Arnezeder, who is a clear contrast to ‘Frank’ in the way she portrays her simplistic yet likeable and innocent character, completely unaware of: ‘Frank’s dark deeds as she grows closer and closer to him. The performances are slightly dragged-down by writing throughout the film however, as whilst the dialogue is decent for the most part, the film does still have the odd unusual line.

As previously mentioned, the remake of: ‘Maniac’ is also shot nearly entirely through P.O.V. shots, and its this cinematography by Maxime Alexandre that really makes the film stand-out from many other slashers. As whilst watching the film, you can’t help but feel the tension as ‘Frank’ goes on dates or has conversations with women who we know will soon meet a gruesome fate, as we as the audience are aware of his sinister intentions, the film almost makes you feel hostage to ‘Frank’s mind. That being said, the film does sometimes take you out of the experience when it leaves the P.O.V. format for a few seconds. While I understand why the film does this (as it’s usually at crucial points within the narrative). I personally feel keeping the audience restricted to looking through ‘Frank’s eyes would’ve made the film more compelling overall.

Serving as a great throwback to the classic 80s film its based-on in addition to adding too many of the film’s best moments. The original score by Robin Coudert or ‘Rob’ for short, is a synth soundtrack. Utilizing electronic waves, this underrated score is certainly a high-point of the film, with my two favourite tracks: ‘Doll’ and ‘Haunted’ both being incredibly memorable in their own right, almost feeling as if they were ripped straight from any of the iconic horrors of the 1980s.

Extremely violent and disturbing throughout, ‘Maniac’ truly pulls-no-punches when delving into the mind of its serial killer, meaning many viewers may be put-off by the film’s extremely gory deaths and unnerving murder scenes. As ‘Frank’ disposes of his victims with little remorse, as dark memories of his mother during childhood fuel his violent actions. This is also where many of the film’s more bizarre moments come into play, as although it may surprise some viewers, ‘Maniac’ is partly an art-house film as well as a slasher, as the film’s themes as well as ‘Frank’s broken mind is usually displayed visually throughout the film in a variety of ways. This unfortunately does lead onto the film’s weakest aspect however, as during many of these anomalous scenes, the film’s editing can become quite erratic, sometimes even placing cuts mid-conversation.

In conclusion, I really do enjoy ‘Maniac’. While the film is still quite problematic in areas, mostly in regard to its editing choices and occasional lines of strange dialogue. ‘Maniac’s memorable original score, intense violence and of course, captivating cinematography through its use of P.O.V. The film stands as definitely one of the better remakes in recent memory. Overall, a high 7/10. Although I probably wouldn’t recommend ‘Maniac’ to everyone, if you’re preferred realm of the horror genre is gory slashers, then this indie flick is certainly not one to miss.

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It (2017) – Film Review

Finally, after many years of waiting, horror and literature fans alike got their wishes granted. As director Andy Muschietti (Mama) signed-on to direct a new remake (or readaptation) of one of Steven King’s most iconic and beloved horror stories, this of course, being ‘It’, with some great cinematography by Chung-hoon Chung, and a very memorable portrayal of the demonic clown: ‘Pennywise’ from Bill Skarsgård. The film is one of the better King adaptations in recent years, even with the array issues the film still suffers from.

In the summer of 1989, a group of unpopular kids band together in order to destroy a shape-shifting monster known only as ‘Pennywise’, a creature which can disguise itself as whatever it’s victim fears most.

Following the film’s incredibly successful release in 2017, ‘Pennywise’ has quickly become a modern horror icon despite only having about four minutes of dialogue in the entire film. But its easy to see why, as not only does ‘It’ share the familiar fun tone of classic films of the 1980s such as: ‘The Goonies’ and ‘The Monster Squad’, but ‘It’ also manages to adapt the novel’s antagonist: ‘Pennywise’ fairly closely from its original source material, resulting in a mostly entertaining novel-to-screen transition.

The main cast of: ‘The Losers Club’ features Jaeden Martell, Sophia Lillis, Finn Wolfhard, Jeremy Ray Taylor, Jack Dylan Grazer, Chosen Jacobs and Wyatt Oleff who all share pretty great chemistry with each other, as alongside the film’s terrific writing, the children truly feel like an actual group of kids, with the group constantly cursing and sharing-in plenty of quippy banter with each other. In addition to the younger cast, ‘Pennywise’ is this time around portrayed by Bill Skarsgård, and while I have always loved Tim Curry’s cheesy yet menacing portrayal of the iconic clown. Bill Skarsgård is a stand-out aspect of the film for sure. Capturing the eerie qualities of the character as well as his unworldly nature perfectly, really embracing the idea that ‘Pennywise’ isn’t just a psychotic clown, but something far stranger…

The cinematography by Chung-hoon Chung is surprisingly brilliant for a modern horror, featuring a number of attractive shots which blend extremely-well with the film’s story. The film does have one recurring shot which is quite irritating however, as during many of the scenes where ‘Pennywise’ appears to his victims, the film utilizes a shot in which the sinister clown approaches the camera straight-on, sprinting directly towards the screen, and while I understand what the filmmakers were trying to accomplish with this shot, I feel it only comes-off as fatuous and looks very out-of-place when compared to the rest of the film’s visual pleasing cinematography.

The original score for the film is admirable for the most part, being composed by Benjamin Wallfisch, the score ranges from being your typical horror soundtrack to eventually becoming more emotional for the more character-focused scenes. The only issue I have with the original score are some of the tracks which feature deep bass-like sounds, as I feel these tracks really don’t fit with the film’s time-period. Regardless, the tracks: ‘Paper Boat’ and ‘Derry’ do serve the film’s story delightfully well, with one of the film’s final tracks: ‘Blood Oath’, also being a beautiful send-off for these characters before their inevitable return.

From ‘Pennywise’s uncanny appearance to the abandoned house ‘It’ lives within on ‘Neibolt Street’, many of the film’s designs are also pretty memorable despite their limited screen-time. These fantastic designs are dragged down by the film’s poor CGI effects however, as the film always seems to resort to CGI visuals during many of its more tense moments, which can take away from their impact. This is also where ‘It’s most substantial problem comes into play, as ‘It’ has really split audiences down the middle when it comes to its focus on horror. As while the film does have a few eerie scenes and creepy visuals, this adaptation seems to be more focused on being the coming-of-age story the novel mostly is. Although many viewers may be disappointed by this, desiring a narrative based more around the story’s darker elements, I feel the film’s distracting CGI effects and constant barrage of jump-scares are made-up for by its interesting delve into the themes of childhood fears and growing-up.

In my opinion, ‘It’ is a pretty solid Steven King adaptation, as while certainly let-down by its weak CGI visuals, overreliance on jump-scares and occasionally inconsistent tone, the film still is a pretty enjoyable watch throughout its two-hour runtime, mostly due to the film’s great performances and general memorability, and with ‘It: Chapter Two’ turning-out to be an underwhelming experience for most. I’d say it further proves that this film is the direction to go when it comes to adapting King’s work, and is a decent 7/10 overall.

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Kong: Skull Island (2017) – Film Review

Jordan Vogt-Roberts directs his first major film with ‘Kong: Skull Island’, another remake of the iconic monster, this time set within a different time-period and featuring plenty of attractive visuals. Resulting in ‘Kong: Skull Island’ being a pretty entertaining monster flick overall, despite the film still being plagued with a range of issues throughout its two-hour runtime.

Shortly after the Vietnam war in 1973, a team of scientists explore an uncharted island in the Pacific, without knowing it, they soon venture into the domain of the mighty ‘King Kong’, and must fight their way through an onslaught of dangerous creatures to escape the deadly: ‘Skull Island’.

Just from a quick glance at the film, it’s obvious that the film takes heavy inspiration from the war epic: ‘Apocalypse Now’ when it comes to its visuals, which is by no means a bad thing, as ‘Kong: Skull Island’ really embraces its 1970s time-period. Making every-set, costume and piece of military equipment fit well within the world the film builds-on, which really gives some style to what could’ve just been your standard action-blockbuster.

The all-star cast of Thomas Hiddleston, Brie Larson, Samuel L. Jackson, John Goodman, Corey Hawkins, Tian Jing, Thomas Mann, Toby Kebbell and my personal favourite, John C. Reilly, are all decent in their respective roles despite their characters not being given much depth beyond a few short scenes, as due to the enormous size of the cast, many characters end-up becoming nothing more than clichés through their rushed introductions. Aside from Samuel L. Jackson and John C. Reilly as ‘Preston Packard’ and ‘Hank Marlow’ however, as both of their characters receive the most development and play into the film’s main theme of the damage war can have on the mind, which I personally found very interesting and wish the film explored further. Rather than focusing so much on many of the awful comedic moments the film crams into the story, which aside from a few improvised lines from John C. Reilly, fall mostly flat.

The cinematography by Larry Fong is fairly creative throughout the film, as in addition the film’s very ranged colour palette. ‘Kong: Skull Island’ does have an array of visually interesting shots, many of which contain plenty of movement and give the viewer some stunning views of: ‘Skull Island’. The cinematography also lacks many of the shots that made the ‘Godzilla’ remake from 2014 so impressive as a creature-feature, that being shots that display the true scale of: ‘Kong’, yet the lack of these shots may also be due to the ‘Kong’s ever-changing size, which did begin to irritate me after a while, despite ‘Kong’ still manging to feel pretty imposing and powerful throughout the film.

The original score by Henry Jackman does help to make-up for this however, it being of his better scores in my opinion. As throughout the narrative, the soundtrack always adds to the adventurous tone of the film, utilizing large tribal drums to give each character’s confrontation with ‘Kong’ genuine weight. The film also uses a number of classic songs from the 70s to further push the film’s time-period, and whilst this does sometimes work effectively, with an early helicopter scene featuring the iconic: ‘Fortunate Son’ being the most memorable. It can also feel very forced at points, mostly due to the sheer amount of songs featured within the film.

One of the film’s best aspects, and most likely the main thing most viewers will gravitate towards when it comes to ‘Kong: Skull Island’, is its action scenes. As throughout the story, the film constantly throws its characters into plenty of intense encounters with the terrifying (and equalling unique) creatures of the island, and whilst the film does have a few too many scenes which feel overly-cheesy due to an overreliance on slow-motion. Each action set-piece is entertaining in its own way, usually making effective use of each monster’s various abilities and their surrounding locations. My personal favourite definitely being the sinister and brilliantly designed: ‘Skullcrawlers’, ‘Kong’s main adversaries. All of these creatures are obviously displayed through the film’s CGI effects, which are decent enough throughout the runtime, yet certainly aren’t flawless.

Overall, ‘Kong Skull Island’ is pretty enjoyable, as whilst filled with a variety of problems, mainly in regards to the film’s weak characterisation and fairly simplistic story, the film still manages to be exciting through its fantastic use of CGI effects and thrilling action scenes, all backed-up by a great original score and a constructive use of the 1970s time-period. A low 7/10 for: ‘Kong’, although undeniably in need of some improvement, I feel you can still get something out of this one.

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This Year in Film (2019) – Film List

Personally, I feel this year in film has been a bit of a mixed-bag, as while I do feel we’ve had our fair share of great films this year, I also feel we’ve had plenty of disappointing entries as well. Obviously, I haven’t had the chance to see every film this year, and I will most likely update this list as time goes on. But for now, in no particular order, here are my thoughts on a variety of films I saw this year.

Joker

Without a doubt one of my favourite films of the year: ‘Joker’ directed by Todd Philips (The Hangover, Old School, War Dogs) is an interesting take on the comic book genre. Focusing more on being an engaging character piece with themes of untreated metal illness rather than your usual barrage of CGI action and explosions, all shown through some beautiful cinematography and an eerie original score.

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Knives Out

Director Rian Johnson proves himself a brilliant filmmaker once again after his smash-hit: ‘Looper’, as although I personally wasn’t an enormous fan of: ‘Star Wars: The Last Jedi’. I knew this director had talent elsewhere, and this was proven to me by ‘Knives Out’. A hilarious and clever twist on the classic murder mystery, with some great performances from the huge cast, plenty of plot twists and a well-written narrative. I feel you’d struggle not to enjoy ‘Knives Out’.

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In the Tall Grass

One of many Steven King adaptations from this year, ‘In the Tall Grass’ comes to us from ‘Cube’ director Vincenzo Natali, and with that sci-fi classic being a personal favourite of mine, I had high-hopes for this Netflix thriller despite its somewhat weak source material. However, as the runtime continued-on, I soon realised the film was far more interested in attempting to explain its bizarre and messy plot rather than experiment with any of its unique ideas.

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Marriage Story

Standing out mostly for the fantastic performances from the all-star cast of Adam Driver and Scarlett Johansson, director Noah Baumbach takes on this wonderful story of a couple broken apart by relationship troubles and long distances, which, despite not being anything outstanding in regards to filmmaking, still manages to be entertaining, emotional and very enjoyable from start-to-finish.

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The Silence

Easily one of the worst films I’ve seen this year, ‘The Silence’ directed by John R. Leonetti, mostly known for the awful: ‘Annabelle’ and ‘Wish Upon’. Is another generic horror with weak performances, dreadful CGI effects and a plot which feels as if it’s been ripped straight from: ‘A Quiet Place’ released back in 2018.

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Haunt

Although the plot of a group of teens heading into a haunted house on Halloween only to get more than they bargained for may initially sound incredibly over-done, ‘Haunt’ is actually one of the hidden gems of the year in my opinion. Utilizing some visually impressive sets and lighting in addition to an array of tense moments and creative ideas, the film is certainly one of the better horrors/thrillers from this year despite its issues.

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Le Mans ’66 (Ford v Ferrari)

After directing one of my favourite films of 2017: ‘Logan’, director James Mangold now takes on the real-life story of the creation of one of the fastest race cars ever built in order to win the iconic: ‘Le Mans ’66’. Featuring some excellent performances from the main cast in addition to some great cinematography and high-fueled racing scenes, ‘Le Mans ’66’ is a true thrill-ride of a film.

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Toy Story 4

‘Toy Story 4’ is definitely one of the most disappointing films of the year for me, as the original ‘Toy Story’ trilogy is (in my opinion) near perfect, and this film seems to do nothing but continue the story for the sake of it. As although the animation is incredible throughout the film, and the performances and original score are also pretty great, the narrative and character-arcs simply let the film down and make it the weakest of the ‘Toy Story’ series for me.

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I Am Mother

This slick science fiction thriller had me excited for quite some-time leading up to its release. However, when I eventually watched: ‘I Am Mother’ I found myself a little disappointed. As the beautiful visuals and solid sci-fi soundtrack are sadly let down by a drawn-out and sometimes bland story. As while not boring by any means, I felt the film was a bit of wasted potential overall.

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It: Chapter 2

Director Andy Muschietti returns to once again bring the demonic clown: ‘Pennywise’ to life in this sequel to the ‘It’ remake from 2017. This time around however, I personally found the film to be a bit of a letdown. As although there were plenty of entertaining scenes and great character moments throughout the film’s extremely long runtime, there were also plenty of ridiculous moments alongside the barrage of enormous CGI monsters.

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Crawl

Going off the initial reviews, I originally had high hopes for: ‘Crawl’, hoping it would be an extremely tense, edge of your seat kind of experience. But unfortunately, the film felt like a mostly standard thriller by the end of its runtime. Having nothing more than a few tense scenes and a couple of effective jump-scares to make up for its mediocre CGI effects and mostly dull characters.

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Yesterday

Whilst definitely not on the same level as many of the others films from director Danny Boyle’s catalogue, ‘Yesterday’ was still a pretty entertaining feel-good comedy which I felt had an enjoyable upbeat tone, and enough likeable characters to carry it through many of its cheesy moments and sometimes overly predictable story.

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The Platform

Definitely a futuristic thriller fans of: ‘The Belko Experiment’ should check out, ‘The Platform’ is just as violent as it is suspenseful, as this Spanish sci-fi thriller deals with a variety of dark themes and ideas, all whilst keeping the viewer engaged through its interesting plot, decent performances and surprising turns.

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Aladdin

This year’s first entry from the usual barrage of pointless live-action Disney remakes: ‘Aladdin’ is exactly what I expected it to be. The classic story most know and love but incredibly dulled-down, trying to capture the adventure of the original film through an enormous amount of CGI visuals, nostalgia and a new cast lead by Will Smith which are all rather bland.

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The Hustle

Although I may not have been the target audience for: ‘The Hustle’, judging by the dreadful reviews from critics and audiences alike, it seems as if I wasn’t alone in finding this comedy just as bland as it was unfunny, with many of the jokes feeling extremely lazy as the film takes all the obvious hits anyone would expect at Anne Hathaway and Rebel Wilson without attempting much else in terms of humour.

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Velvet Buzzsaw

Despite ‘Velvet Buzzsaw’ not quite being the hilarious, gory and extremely weird horror/comedy I was initially hoping for, in addition to going off the back of director Dan Gilroy’s other film: ‘Nightcrawler’ (which is one of my all-time favourites). I still found the film interesting enough throughout its story to keep me watching, despite it not being overly memorable in its entirety.

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Avengers: Endgame

Marvel finally bring their enormous franchise of superhero flicks to an end (for now that is) with ‘Avengers: Endgame’, a blockbuster spectacular which gives many viewers the conclusion they’ve been desiring for many years, and although it isn’t one of my personal favourite Marvel films, I enjoyed: ‘Avengers Endgame’ for what it was. As the film provides some endings for characters alongside plenty of comedic moments, fan service and thrilling action set-pieces.

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Dolemite Is My Name

Based on the real-life story of Rudy Ray Moore, Eddie Murphy makes his awaited return to film after a long break. As this brilliant comedy/drama makes all the right moves to keep its audience engaged within its story through plenty of humour, style and emotion throughout its runtime.

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Jumanji: The Next Level

A sequel to ‘Jumanji: Welcome to the Jungle’ from 2017, as well as the original: ‘Jumanji’ from 1995. ‘Jumanji: The Next Level’ is very similar to the previous instalment in regards to its tone and story (with some elements mixed-up of course) and despite some humour and story moments going a little too over-the-top for my taste. The film is still enjoyable enough for those seeking another fun family adventure from this franchise.

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Godzilla: King of the Monsters

Unable to actually decide what I thought of the film initially, ‘Godzilla: King of the Monsters’ is a true mixed-bag of a blockbuster, having some fantastic monster action with flawless CGI effects and a surprisingly ranged colour palette be completely bogged down by weak characters, cheesy moments and at points, a very messy story.

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Once Upon a Time… in Hollywood

Director Quentin Tarantino returns to the silver screen once again with ‘Once Upon a Time… in Hollywood’. Bringing us a slight subversion of some of his usual film tropes, to focus more on a story of a man seeking his return to fame in Hollywood, all shown through some beautiful cinematography and an excellent 1960s soundtrack.

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Terminator: Dark Fate

Of all the franchises dragging themselves out in an attempt to drawn-in whatever loose profits still remain, ‘Terminator’ has been by far the worst, with ‘Terminator: Dark Fate’ only further proving this. Being extremely bland and cliché throughout, this time-travelling sci-fi series truly feels as if it’s got nothing more to offer, even with a talented director at the helm and James Cameron back on-board as a producer, this franchise is now really just a shadow of its former-self.

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John Wick: Chapter 3 – Parabellum

In another one of this year’s biggest disappointments, ‘John Wick: Chapter 3 – Parabellum’ is the third entry in the ‘John Wick’ series, which sadly, leaves a lot to be desired. As many of the trilling and well-executed action scenes are dragged down by a messy and uninteresting story, as well as a variety of extremely out-of-place comedic moments.

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Star Wars – Episode IX: The Rise of Skywalker

Arguably the most disappointing film of the year for many, ‘Star Wars: The Rise of Skywalker’ attempted to close the enormous legacy of the ‘Star Wars’ saga, which unfortunately failed quite miserably. As overly fast-pacing and an extremely messy (and unsatisfying) narrative really dragged the film down despite its fun moments and exciting action scenes, further proving that this franchise needs a long-rest before it’s inevitable return.

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Spider-Man: Far From Home

Most likely my favourite Marvel film of this year, ‘Spider-Man: Far From Home’ hardly breaks new ground when it comes to superhero flicks. But the main cast’s great performances mixed with plenty of exciting action and a surprisingly interesting antagonist, leave ‘Spider-Man: Far From Home’ an enjoyable and mostly faithful comic book adventure for the iconic web-head.

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The Lion King

The second of this year’s live-action Disney remakes: ‘The Lion King’ directed by Jon Favreau, is definitely one of the worst in my opinion, as although the film’s CGI visuals are nearly flawless, the film simply lacks any of the charm, heart and overall personality of the original film. Resulting in the remake being nothing more than an overall boring experience.

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Little Monsters

Although the film is help-up by some strong performances and some interesting ideas, ‘Little Monsters’ never manages to break the structure of your usual zombie film. Coming off as an occasionally fun yet mostly bland horror/comedy, which is just as predictable as it is dull, despite many of its decent comedic moments.

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Serenity

Whilst I personally didn’t dislike ‘Serenity’ as much as many others, the film still suffers from a variety of issues. As director Steven Knight attempted to achieve something very different with this film, which at some points works quite well, and at others doesn’t work at all. As many of the unusual performances and can really drag down the film’s great cinematography and editing.

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Fractured

Overly predictable and formulaic, ‘Fractured’ focuses on the potentially compelling narrative of a father’s family mysteriously disappearing within the walls of a hospital, yet despite its few effective scenes, ‘Fractured’ soon ends-up feeling like a path nearly every-viewer has been down before. Resulting in the film becoming just another forgettable Netflix Original.

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The Lighthouse

Despite my dislike of director Robert Egger’s other film: ‘The Witch’ from back in 2016, ‘The Lighthouse’ had me gripped to the screen throughout its runtime. As the film’s black and white colour palette along with it’s eerie original score and intriguing story, leave the ‘The Lighthouse’ a film that’s just an interesting to discuss as it is to watch.

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Parasite

I went to experience Korean director Bong Joon Ho’s ‘Parasite’ mostly due to its outstanding reviews rather than due to its trailers (which I personally found quite poor). But yet, with some absolutely gorgeous cinematography and brilliant performances, ‘Parasite’ is now definitely up-there with some of my personal favourite foreign flicks such as: ‘Oldboy’, ‘Veronica’ and ‘The Host’, in addition to possibly being my favourite release of this year.

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Captain Marvel

One of the blandest Marvel films I’ve seen for a while, ‘Captain Marvel’ focuses far too much on pushing on themes of strong female empowerment that it forgets to actually create a likeable protagonist or an interesting origin story, making the film overall feel simply forgettable more than anything else.

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Zombieland: Double Tap

Surprisingly, Zombieland: Double Tap’ was more enjoyable than I was initially expecting. As while far from as memorable or as enjoyable as the original for me, there were more than a few moments of humour between the cast that had me laughing, despite the film’s tone going even more over-the-top than before.

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The Irishman

Iconic director Martin Scorsese (Taxi Driver, Goodfellas, The Wolf of Wall Street) returns to bring us another tale of crime and regret with ‘The Irishman’, and while the over three-hour-long runtime can definitely make the film drag at points, the brilliant performances and phenomenal filmmaking are sure to keep those paying attention engaged for the majority of the film’s runtime.

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Us

Director Jordan Peele’s follow-up to his 2017 smash-hit: ‘Get Out’, was a far cry from excellent for me. As despite the brilliant reviews, I personally found the film’s story to be bloated with rushed ideas and ridiculous scenes, all adding up to a horror flick that placed more focus it’s themes than it’s narrative. Resulting in a film which was just as inconsistent with its tone as it was with its story.

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Hellboy

The latest superhero to get his own remake is the iconic: ‘Hellboy’, with the remake this time falling far, far from the mark. As a ridiculously messy story mixed-with poor CGI effects and dreadful comedic moments, leave the film pleasing no-one, despite David Harbour’s decent performance as the horned anti-hero.

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1917

Made to appear as if it was filmed entirely within one shot, ‘1917’ is a brutal, gripping and engaging story involving two soldiers who set-off in a race against time to save thousands of men from a doomed battle, and while not flawless, the film is definitely impressive for both it’s narrative and filmmaking.

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Fighting with My Family

Directed by actor and comedian Stephen Merchant, ‘Fighting with My Family’ is a light-hearted British comedy-drama based on the true story of WWE wrestler: ‘Paige’ portrayed extremely-well throughout the film by Florence Pugh, and despite a few cringy scenes, ‘Fighting with My Famly’ was a huge surprise for me. As a very investing story and some brilliant moments of humour leave the film a genuinely enjoyable experience that seemingly went under most people’s radars upon its intial release.

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Jojo Rabbit

Heartfelt, emotional and brimming with comedic charm, ‘Jojo Rabbit’ is another one of my favourites from this year. Being a completely different take on the war genre by giving the audience a new view of the events of the Second World War through the eyes of a child. All under the excellent direction of Taika Waititi (What We Do in the Shadows, Hunt for the Wilderpeople, Thor: Ragnarok).

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Missing Link

From Lakia animation studio, the production company that brought to life many of my favourite stop-motion animated films, such as: ‘Coraline’ and ‘Kubo and the Two Strings’ comes another fun family adventure. Shame this one couldn’t have done better at the box office, as the film is wonderfully put together, featuring plenty of humorous moments alongside the great voice acting and beautiful animation.

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Ready or Not

One of the most surprising films of the year for me, ‘Ready or Not’ may have your usual cliché plot for a modern-horror, but somehow the film manages to carry it through. Managing to be extremely funny, gory and fun throughout nearly the entirety of its runtime.

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Doctor Sleep

The long-awaited sequel to Stanley Kubrick’s classic: ‘The Shining’, ‘Doctor Sleep’ attempts to continue the story of the ‘Overlook Hotel’, and does so with mixed results. As although the film does pay plenty of the respect to the original film, I couldn’t help but feel the film doesn’t stand on its own very well, having a mostly predictable story with some pretty bland characters within its nearly three-hour runtime.

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Child’s Play

From the producers of the ‘It’ remake from 2017, this reimaging of the horror classic: ‘Child’s Play’ does have some great elements, such as: some hilarious scenes of dark comedy, gory and creative death scenes and even a pretty memorable voice performance by Mark Hamill as the iconic killer doll: ‘Chucky’, and yet, the film never quite manages to escape its remake roots and goofy original idea, usually feeling more unnecessary than anything else.

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Wounds

Regardless of its atrocious reviews from both critics and audiences, I actually quite enjoyed: ‘Wounds’. As although this psychological horror may have some bland cinematography and an overreliance on jump-scares at points, the film’s weirdly unique narrative and main performance by Armie Hammer simply won me over by its end, despite the film being nothing that memorable in the long-run.

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Pet Sematary

In this new remake of Steven King’s classic novel, Jason Clarke and Amy Seimetz portray: ‘Louis’ and ‘Rachel Creed’ a couple who move to rural Maine only to soon discover a mysterious burial ground hidden within the woods near their new home, and aside from the dark and interesting plot the film provides. ‘Pet Sematary’ is nothing more than a bland jump-scare fest with little focus on building character or atmosphere.

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I Lost My Body

This unique animated French film co-written by the writer of the beloved: ‘Amélie’, is very charming and beautifully crafted throughout the entirety of its tight runtime, with a variety of stunning shots and plenty of creative ideas, ‘I Lost My Body’ is certainly worth a watch despite being overshadowed by many other films released this year.

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Uncut Gems

After many poor attempts at comedies in recent days, Adam Sandler gives one of his best performances in years with ‘Uncut Gems’, portraying a shady jeweller who’s actions and consequences carry the film brilliantly from start-to-finish, despite the film’s shaky cinematography and bizarre original score being a little distracting at points.

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Midsommar

Although I quite enjoyed: ‘Hereditary’, director Ari Aster’s other film from 2017, ‘Midsommar’ was most certainly not for me. Feeling far too pretentious at points with a slow-paced narrative and weak characters, the film’s unique ideas and attractive visuals simply couldn’t save from becoming the boring experience it eventually ended-up being for me, with the exception of another excellent performance by Florence Pugh from this year.

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Unicorn Store

Led by a mediocre and sometimes irritating performance by Brie Larson, ‘Unicorn Store’ attempts to be a fun, colourful and heartwarming tale of a grown woman letting go of her childhood. Yet unfortunately, the film falls far off the mark for most of these goals, as ‘Unicorn Store’ is more dull and forgettable than the whimsical tale it set-out to be.

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Scary Stories to Tell in the Dark

Whilst I definitely would’ve prefered an anthology-type structure when it comes to an adaptation of the ‘Scary Stories to Tell in the Dark’ children’s book series, this horror film for a younger audience certainly has its fair share of flaws. As although not awful by any means, the film is simply just a very mixed-bag overall.

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The Kid Who Would Be King

A decent fantasy adventure for families, ‘The Kid Who Would Be King’ directed by Joe Cornish (Attack the Block) definitely has some areas in need of improvement. As the film is brimming with cheesy moments and a very out-of-place original score. Despite this however, the film still manages to utilize its fun story and exciting action scenes to the best of its advantage, resulting in an entertaining if not perfect family flick.

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Clash of the Titans (2010) – Film Review

In this modern remake of the 1981 classic, ‘Perseus’ takes on a variety of gods and monsters in this somewhat fun, yet still very generic and sometimes even over-the-top recreation of the original story. As this time around, director Louis Leterrier (The Transporter, The Incredible Hulk, Now You See Me) focuses more on action set-pieces and enormous CGI spectacle than ever before.

When ‘Perseus’ the demi-god son of: ‘Zeus’ finds himself caught in the middle of a war between gods and mortals, in which his mortal family are killed. He gathers a war band to help him conquer the mighty ‘Kraken’, ‘Medusa’ and ‘Hades’, god of the underworld.

Going off the negative reviews from both critics and audiences, I wasn’t expecting much from ‘Clash of the Titans’ on my initial watch. However, I was surprised to find the film is mostly entertaining, as although there isn’t much substance to this remake, I still find it to be a somewhat exciting action flick, having plenty of creatures and adventure throughout its runtime despite its various flaws. This may also be due to my fondness for Greek mythology however, as I’ve had an interest in this element of fantasy/history since I was young.

Although there aren’t any particular stand-outs when it comes to the cast, Gemma Arterton, Liam Neeson, Ralph Fiennes, Mads Mikkelsen and Jason Flemyng all do a decent job throughout the film. However, Sam Worthington who portrays the protagonist: ‘Perseus’ I personally found to be one of the weakest elements of the film, as despite him having a number of large roles in huge blockbusters such as: ‘Avatar’, ‘Terminator: Salvation’ and ‘Hacksaw Ridge’ in the past, he has always seemed extremely bland to me, never really coming off as anything other than a generic action hero with little charisma, and ‘Clash of the Titans’ is unfortunately, no exception to this. 

The cinematography by Peter Menzies Jr. is also quite bland, as although I do appreciate the lack of incredibly shaky hand-held shots during many of the action scenes. Many of the shots throughout the film are usually very standard, as the cinematography never really attempts to enhance the visuals or make use of the story’s impressive and unique locations (aside from the occasional wide shot).

One very bizarre element of the film is definitely the original score by Ramin Djawadi, as although some tracks sound perfect for a fantasy epic such as this one. Other tracks almost sound as if they’ve been performed by a rock band, making them feel incredibly out-of-place within the film’s time-period. The soundtrack actually does work quite well in my personal favourite scene of the film however, as the scene set within ‘Medusa’s lair uses the score to build tension and atmosphere surprisingly well.

The CGI effects throughout ‘Clash of the Titans’ are definitely one of the film’s better aspects, as regardless of whether it’s being used for creatures, gods or locations, the visual effects always look great. However, this is also partially due to the designs of many of the creatures within the film, as the designs manage to perfectly blend the appearance of modern-day monsters mixed with classic Greek mythology. This also lends itself effectively to many of the various action scenes throughout the film (this obviously being the film’s main draw) as the action throughout the narrative is mostly pretty solid, making great use of the various different creatures abilities and always placing ‘Perseus’ in different dangerous scenarios.

Overall, I found ‘Clash of the Titans’ decently entertaining for what it was, which is essentially is nothing more than your usual action blockbuster with some Greek mythology thrown-in for good measure. As while the film is successful for what it sets out to do, the film does fall flat in many other areas, from Sam Worthington’s dull performance, to some of the weak writing and occasionally unusual original score, I feel only people truly interested in Greek mythology could get something out of this one. But with all that in mind, ‘Clash of the Titans’ still isn’t the worst remake I’ve ever seen, and is most likely a low 5/10.

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The Thing (1982) – Film Review

One of John Carpenter’s many horror classics, and one of my all-time favourites. ‘The Thing’ is a violent, eerie and creative sci-fi body-horror icon. As I personally adore this film and believe its one of Carpenter’s best, as the film always uses isolation and paranoia to it’s best extent, never failing to keep you on edge and invested throughout the entirety of its story and runtime.

Members of an American research outpost in Antarctica find themselves battling a parasitic alien organism capable of perfectly imitating its victims. As time passes, they realise that killing the creature will be harder than they initially thought, as paranoia begins to sink-in as to who has already been assimilated by the shape-shifting entity.

Although ‘The Thing’ is actually a remake of the classic: ‘The Thing from Another World’ from 1957, I would say this is one of the rare times that a remake is better than the original. As it’s constant tension building alongside the outstanding practical creature effects, make the film an incredible experience. Very similar to films such as: ‘Alien’ or ‘The Fly’, ‘The Thing’ also has a very slow opening, using its introduction to build tension and give the audience a great view of the location before the film descends into the gory chaos.

Kurt Russell, Keith David, Wilford Brimley, David Clennon and the rest of the cast are all decent, while Kurt Russel’s character: ‘MacReady’ is easily my favourite simply due to his charisma, but none of the cast are terrible by any means. However, I do feel there are too many characters within the story, as it can get confusing at many points as to which character is wrapped up within their large fluffy coats. As while I understand the need for a high-body count for a film like this (which is the reason for the lack of development for many of the characters) but I simply just find it a little too easy to get lost at points.

Dean Cundey handles the cinematography within the film, which is decent throughout but nothing amazing, placing more of an emphasis on the practical effects within the shots, rather than the shots themselves. However, the cinematography does still help to build tension effectivity through its many still shots and dark colour palette. The original score (surprisingly not composed by John Carpenter himself) is by Ennio Morricone, but suitably does feel like a traditional Carpenter soundtrack and helps towards the eerie atmosphere as soon as the opening begins, as while maybe not as iconic as some of Carpenter’s other scores such as: ‘Halloween’ or ‘The Fog’ etc. The original score is still brilliant in its own right, and truly sets the tone for the film.

All of the creature effects throughout the film are completely practical, giving the amazing creature designs true life by many of them being puppets or costumes rather than CGI like most modern-day horror or sci-fi flicks. These effects truly create some very memorable scenes, as make-up artist Rob Bottin (Robocop, Total Recall) truly did some of his best work on ‘The Thing’.

As the film takes place in an extremely isolated location and features a creature that can morph into any character, the film also never fails to keep the viewer on constant edge. As one of the best elements of the film is the paranoia the film builds up, as any of the characters could be infected with the alien creature. So we never know who is going to be the next unfortunate victim, and who is their killer. Interestingly during filming, John Carpenter didn’t even tell the actors who was ‘The Thing’ on set, only adding to the mystery.

Altogether, ‘The Thing’ is a phenomenal entry into the genres of science fiction and horror, truly being an iconic staple of what to expect from an alien film from then on. From it’s building of tension to the outstanding phenomenal practical effects as well as the constant threat we feel whilst watching, almost placing us into the shoes of the characters themselves. Soon going on to be a true sci-fi/horror classic and becoming one of the best remakes to ever grace the silver screen, a well-deserved 9/10 overall.

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The Amazing Spider-Man (2012) – Film Review

Only five years after the previous ‘Spider-Man’ franchise ended, ‘The Amazing Spider-Man’ attempts to be a fresh and slightly darker reboot of the superhero’s classic origin story, yet sadly falls pretty flat. Feeling too similar to the previous franchise as well as never really perfecting any of the interesting ideas the film introduces itself.

When ‘Peter Parker’ is bitten by a genetically altered spider, he gains newfound spider-like powers and ventures out to solve the mystery of his parent’s mysterious death. Meanwhile, a menacing new threat emerges in the dark streets of New York City.

Aside from the new focus on his lost parents, the story is far too similar to what we have seen before. Featuring all the classic scenes of ‘Peter:’ beating up criminals, making his iconic costume (which now has an unpleasant redesign) and of course, witnessing his ‘Uncle Ben’s death. This can make the story feel very bland and predictable for the majority of its runtime, if the film was to come out many years after: ‘Spider-Man 3’, then perhaps it wouldn’t have been as bad. But due to Sony wanting to keep the rights to the Marvel character, a new remake had to be rushed out.

‘Peter Parker’ is this time portrayed by Andrew Garfield (The Social Network, Hacksaw Ridge), and overall I think he does a decent job here. As while this version of the character isn’t incredibly memorable, he does portray the character as a nervous and awkward yet still likeable teenager, despite looking a little too old for the character’s actual age. The rest of the cast of Emma Stone, Sally Field and Rhys Ifans also all do a decent job within the film, but are never really given anything interesting to do when it comes to the story.

The cinematography by John Schwartzman is nothing outstanding, as aside from the unique P.O.V. shots from ‘Spider-Man’s perspective, the cinematography mostly just stays at a decent level throughout the film. However, this is easily redeemed by one of the best elements of the film for me, the great chemistry between Andrew Garfield and Emma Stone. As Emma Stone portrays: ‘Gwen Stacey’ (‘Peter Parker’s first love interest) all of their scenes together are very funny and charming, reminding me very heavily of director Mark Webb’s first film: ‘(500) Days of Summer’.

The original score by James Horner is once again nothing amazing, but it does fit the film’s style. Feeling like a classic superhero score, mixed with some more emotional elements, equalling to a pretty varied but not very memorable soundtrack. The majority of the film could be described in this way however, as many aspects of the film never seem to pass the level of ‘decent’, which is a real shame, as I think this director and cast have some great potential. But this simply wasn’t the film for it.

The writing is definitely one of the weakest elements of the film for me, as the film is full of cheesy lines and cliché moments throughout the story. My main issue with the film however, is the film’s antagonist: ‘The Lizard’. As his motivation, awful appearance and general lack of an intimidating presence really portray this classic comic book antagonist in a bad light.

The action scenes within the film are nothing really incredible of note, as although they are decently entertaining, none of them ever manage to become as memorable as anything from the original: ‘Spider-Man’ trilogy. My personal favourite most likely being the action scene set in ‘Peter’s high school, as the scene utilizes the location very well. It’s also here when we get a great look at the various different CGI effects in bright lighting, and I feel overall they look decent.

Although I initially gave this film a lower rating, the actual filmmaking on display here isn’t terrible, and what the film does well such as: great chemistry between the lead cast, ‘Spider-Man’s spectacular P.O.V. shots and the occasional entertaining action scene, I simply can’t ignore. Overall, a 5/10, maybe check this one out if you’re a huge fan of the character, if not, you’re not missing out on much.

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Godzilla (2014) – Film Review

‘Godzilla’ has always been an interesting franchise to me, with the film series spanning over sixty years and introducing new directors, new production teams and new foes for the giant lizard to face time after time, with the franchise even devolving into more of a self-parody nearing the end of it’s run. The king of monsters was still (and probably always will be) very popular, so of course, it was only a matter of time until America decided to try their hand at the iconic monster franchise.

When scientists discover a giant ancient spore underneath the Philippines, they decide to preserve it for research for fifteen years… until it eventually hatches. Now with malevolent creatures from inside threatening the existence of all of mankind, another ancient creature rises from the depths of the ocean in order to restore balance to nature once again.

America initially attempted a ‘Godzilla’ film back in 1998, with many feeling the film differed far too much from the original source material. Featuring an awful redesign for the classic monster and no actual antagonist for him to face. Now returning back to the classic formula but with a more grounded tone and some fresh creature designs, director Gareth Edwards (Monsters, Rogue One: A Star Wars Story) does a mostly solid job with this remake. Even if the film can sometimes focus far too much on the other creatures within the story then ‘Godzilla’ himself.

Although much of the narrative focuses on the ‘Ford’ family, portrayed by Aaron-Taylor Johnson, Elizabeth Olson, Carson Bolde, Bryan Cranston and Juliette Binoche. With all the cast doing a decent job (Bryan Cranston being the obvious stand-out with a few amazing scenes showcasing his true talent) their characters are given very little development. As although I do believe the human characters are an important element to break-up the constant chaos from the giant monsters, the entire family of characters could’ve definitely used more characterisation when it comes to the film’s story.

However, in addition to the fantastic use of CGI throughout the film, the cinematography by Seamus McGarvey is actually pretty great. As while there are a few bland shots throughout the film, the majority of the shots involving the giant creatures are used to great effect, with an enormous amount of wide shots showcasing the creature’s true scale. Whilst the original score by Alexandre Desplat is also pretty effective, as although it’s nothing incredibly memorable by itself, it’s still very effective. Backing-up both the film’s exciting action, as well as some of it’s more unnerving, eerie and emotional scenes.

My main issues are in relation to the film’s general pacing and overall amount of action set-pieces throughout the story, as although I usually have no issue with story or character moments over action when it comes to your average blockbuster. The film does build-up a large amount of excitement towards the final battle between the monsters for a large portion of the runtime. Even cutting away from some action scenes to tease the audience early-on in the film, and although the final confrontation is entertaining. I wouldn’t say it makes up for the amount of time it makes its audience wait.

Despite this, I actually quite enjoy ‘Godzilla’, as although it’s by no means perfect and I do hope the inevitable sequel improves upon many of its flaws. The film is still engaging enough throughout to keep it’s viewer engaged, as despite it’s lack of action and weak characterisation. The film’s brilliant visuals and surprising grasp on realism during many scenes are probably enough to elevate this monster flick for most. A 7/10 overall.

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A Nightmare on Elm Street (2010) – Film Review

This modern remake of the classic Wes Craven horror flick: ‘A Nightmare on Elm Street’, unfortunately lacks any of the charm or creativity of the original, as Samuel Bayer’s bland direction and Jackie Earle Haley’s eerie but not incredibly memorable portrayal of the beloved character leaves much to be desired.

Following an extremely similar plot to the original film, a group of suburban teenagers share one common bond, they are all being stalked by: ‘Freddy Krueger’, a horribly disfigured killer who hunts them in their dreams. As long as they stay awake. They stay alive.

Whilst the film definitely isn’t the worst remake I’ve seen in recent years, it most certainly is one of the most forgettable. As the film never really does anything super interesting of note to give a reason for its existence (other the production company wanting to make a large profit of course). As everything from the cinematography, to the acting, to even some of the CGI effects, all really just come off as something from your standard low-budget slasher.

As mentioned earlier Jackie Earle Haley’s version of the ‘Freddy Kruger’ character is most certainly one of the better elements of the film, as although it definitely isn’t as memorable as the original (as Robert Englund will always be the true nightmare in my opinion). Jackie does a decent job at giving his own take on the iconic character, making him more menacing and extremely creepy when on-screen, he still does have the occasional quip every so often however. The rest of the cast aren’t fantastic, as due to their limited direction and weak characterisation as well as the poor writing. Rooney Mara, Kyle Gallner and Katie Cassidy have very little to work with.

The cinematography throughout the film by Jeff Cutter is decent overall, as while not as impressive as his work on: ’10 Cloverfield Lane’ for example, is it most certainly not terrible to look at through most of the runtime. One aspect of the film that is awful however, is the horrific colour palette the film goes for. As the film uses an over-saturated blue and orange colour palette very similar to a Michael Bay film, which not only doesn’t fit with the style of the film at all, but also simply gives the film a general ugly visual appeal.

Even the original score composed for the film by Steve Jablonsky, is a very bland horror soundtrack with nothing really interesting about it, even with the classic: ‘Elm Street Jingle’ in the background, the score really doesn’t add anything to the already boring atmosphere. The only element truly fresh to this remake, is the enormous amount of jump-scares throughout the narrative, which is pretty much to be expected from any modern-horror nowadays.

As technology and filmmaking techniques have greatly evolved since the release of the original: ‘Elm Street’ film in 1984, I was really expecting the film to get extremely creative with the ways ‘Freddy Kruger’ can invade people’s dreams and kill them. Similar to the way they did within the sequels to the original film over the years, but sadly the film pretty much recreates many of the iconic scenes from the original film almost exactly, without much thought or creative effort put into it. I did personally enjoy the new look for: ‘Freddy’ though if I had to focus on a positive element of the film.

Overall, I was very disappointed with this remake, even with going into it initially with very little expectations. As aside from a few interesting CGI effects here and there, the film simply isn’t memorable in the slightest. Using the ‘A Nightmare on Elm Street’ title without understanding what actually makes it the popular and iconic franchise it is in the first place, so the film is simply a cash-grab, and nothing more than a high 2/10.

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